Ridiculously natural and transparent dynamic processing

This is a pretty extraordinary plugin. Well done!

Thanks for the videos, George. Love it.

I love listening to George Massenburg, go about his technique in, Mixing. He is so wonderful. With everything he does. It sounds so perfectly, right. His attention to sonic detail is bar none, the best, that ever was. But at the same time? Back in 1979 when I was only 23 years old. The same age, I met George Massenburg at. When he was 23 and I was only 15 years old. In my high school jazz band. And it was my band director. That got us a field trip. To go see George's new ITI Studios in Baltimore. And so 8 years later. I went to work for a huge multimillion dollar, National Advertising Agency. That George Massenburg also knew. Because all of the commercials. Were being cut by his boss, originally. Until they pulled out of that studio. And then hired me. To go directly to work for them. At a studio they constructed in their office building. They designed and built for me. Yes, me. And when I got there. The new control room was, Unacceptable! It was an engineering nightmare. And the audio mixer, was a lousy, Yamaha, PM-1000, PA Board. Not a recording console. Not the one I wanted. And the boss refused, the one I wanted. He told me to use that one. I said it was a piece of crap! He said tough! It's what you've got! Use it. Ugh! Add with that nightmare. I had a couple of Dynamic Range Limiters. I had a 2 track recorder. I had an, 8 channel recorder. Along with a, half, broken, AKG, Austrian, Spring Reverb. That had a nasty clunking sound in one of the two channels. Ugh! About 8 microphones mostly in the stereo pairs meaning 4 choices. Only 4 headphones to go around. For up to, 13 people in the studio. Originally only designed for 4 announcers. And we moved in a new, grand piano, also. And I had gotten one, brand-new, Digital Effect, delay line, gizmo. That could also shift pitch. In real time up or down in pitch. With a 36 ms, latency to it. And could never be used on the beat. It would never be, on the beat. That's a huge delay of latency time. So not good with anything, rhythmic. I was so angry about the lousy PA mixer board. That I then talk to the big boss. Into letting me produce the Company Jingles. Shitty, Jingles. I would make sound, Shitty! And then he would get me the proper audio console I wanted. And so it came out like this: soundcloud.com/remyrad/remygolnickjinglesotdemomb2 Sort of. As I did this transfer in 1996. From sticky, sticking, recording tape. From, consumer demos. Approximately, 9 tape generations down. And a poor representation. Of what it actually sounded like from the, 30 IPS Master Tapes. Off of these miserable consumers 7.5 slow speed, consumer tape copies. Made on, throw away used tape. But what you are listening to. Is who I shall refer to as the, Miami Wrecking Crew. Which was the hottest studio musicians from Criteria/Hit Factory Studios. Who was the actual band for the Bee Gees, Jimmy Buffett, the Eagles and so many others. Along with the Miami Symphony Orchestra. All of which I Produced. In a Voiceover Studio. With, No Usable Acoustics. And not enough headphones to go around. As I can only fit a maximum of, 13 people crammed into the studio. With the Studio Speakers, blaring the rhythm tracks loudly. For all of the orchestral members and solo musicians, to hear. Getting all of that fold back into the microphones. More than the instruments, I was trying to record. So that's going to sound like crap! But really now? What you don't realize? Is that. I created. Brand New, Recording Techniques. And with up to, 72, overdubbed tracks. When all I had was an, 8 track recorder and a 2 track recorder. So how does one do that? It's simple! It's the most complicated process you can possibly think of. That is Impossible, to do. Totally, Impossible, to do. I had to create a way of doing it. At 23 years of age. With crap equipment. A crap studio. And cutting the vocals. With a single Dynamic Range Limiter. One that George Massenburg does not care for. And so it's my, Totally Unique. Recording Technique. That allowed me to pull this production off. With up to 72 overdubbed tracks. And I used. Virtual Analog Tracks. As all of the overdubs are done on separate pieces of 8 track tape. Mixing down to a single channel. On the 2 track machine. Then flying that track in by hand. Back into a fresh piece of 8 track tape. One channel at a time. Until I have synchronized everything by hand. By fingertip control. Because there were no computers. There was no software. There are no plug-ins. There is no Synthesizers used. At all. These are all live musicians. And so I'm a genius, Engineer. Much like George. Only Totally Different! As, My Engineering. Also requires, copious amounts of, Marijuana. I can't do this sober! Nobody could do this, sober! You have to be out of your mind. To do such a thing as this. Because it should not be Possible. Should not. Every track is synchronized by hand. (More Georgie in following post)

Sounds amazing

real good music for a tutorial!

Can I suggest something. It would be good for you to get your new plugins to a few reviewers to drum up interest. Think Warren Huart. These are great products but like the new EQ most engineers think MDW is Pro Tool only because of how they were previously, so they don't even consider it. Its a great tool with a ton of useful features. Cheers!!

Great!!!

I totally like the end result, BUT: there is a part at 6:54 when she sings "saaaay", that feels like a bit "ducking" to me. Is there a way to solve that? Maybe with release override (shorter release), etc...? Then it would be truly transparent.

And I think it's all pretty funny. Because in the end. In a Total Happenstance. I went up to New York City. To, Pitch. My Engineering Skills. To the world's Top Jingle Producer. But he said he couldn't use me. Oh well? I tried. As he had been producing. The Advertising Agency's Fabulous Jingles. They had been using. And I was trying to outcompete, him. And I did! To the Advertising Agency. For which I went to work for. Because they wanted me, badly. I guess you can understand why? I save them, Beaucoup Dinero. But then? David Lucas tells me. That we have to wrap up our meeting. By 8 PM. Because he's got a friend flying in from London England. And they are getting dinner together. And that will be the end of our meeting. But he goes on to tell me. He goes to London, England. To cut all of his, String Tracks. Not in New York City where he lived. And produced everything else. But the strings in London, England. And he tells me. The guy that owns the studio. As a friend of his. Who is coming over for dinner. And he's always looking for good people. So he will introduce me to his friend. I then asked him. What studio he cut his string tracks at? He told me, AIR Studios. Air Studios? I said… That's George Martin's, studio. He said yes. He's coming over for dinner. So I figure. David Lucas is pulling my leg. There is no George Martin coming over for dinner! What kind of bullshit is he giving me? Then his doorbell rings promptly at 8 PM. He answers the door. And there he is! Oh my God! It's George Martin! What the hell? And he introduces me. And tells them I'm a really fine engineer. And let me play you, Remy's, Jingles. I said oh no. Please don't, David. But he hit the play button. Oh God? I am totally embarrassed. And George listens through the whole thing to the end. Including the couple of actual commercials. I used the jingles, with. Then George Martin. Asks me. How I went about this, technically? And I went into a lengthy dissertation. Six and when I was done. George Martin, offered me a fine job. Oh my God? I would have to move out of the country. I could not accept his offer. I was deeply in love. And funding my partners, Operatic career. I loved her deeply. I couldn't just leave her flat. I couldn't do that to this woman I fell in love with. And he was shocked. So was I. I'm an idiot. He told me to look him up if I changed my mind. I changed my mind the following week. I've never looked him up. And 10 years later. She divorced me. When she became Famous. She no longer Needed, me. I had been used. I was a sucker. Even though I never accepted his position. I went on. To make history. And to garner multiple major music award nominations, myself. Under Best Engineered, category. Nobody could figure out how I produced these? As it was not possible to do. That's why I had to do it. I like to prove everybody wrong. They didn't think I could do it. And so these stupid Jingles. Were used for the next over 20 years. And made the company millions of dollars. Like hit records would. And these are not just Jingles as you can hear. We referred to these as 1 Minute Musics. Because they are a full song. They have a beginning a middle, solos and an end. They are complete songs. And they are mixed as 2 channels. Instruments on one channel. The lyrics on the other channel. This allows me. To bring the lyrics in and out. Around the announcers. At specific times. Everything is completely planned out to the second. It was a lot of fun. I accomplished, a lot. I later went to work for NBC at the Network. And spent my next 20 years with them. As one of their Top Audio and Maintenance, On Air, Engineers. And NBC owned by RCA. Only hired. The Best Engineers in the World. And they hired, Me. They wanted, Me. I was extremely flattered. And I got to work with our Presidents of the USA. And all of our elected officials. Dignitaries from other countries. All the Celebrities you can think of. And in all of our Governmental Buildings. Like the White House, the capital, the Pentagon, the State Department. The Memorials. The Parades. All of it. In the most Important City in the World. I can't believe all that I've done. This was not supposed to happen LOL. I was all about the rock 'n' roll. And I became one of the Finest News Audio Engineers, and the World. Now at 68. I'm finally retired for good. I had a great career. I had a couple of nice studios of my own. I built some nice studios for others. I'm a lot like George. I love George. I've known him my whole professional life long. But we've never worked together really. We have worked independently of each other. We do not collaborate. I guess he doesn't want to collaborate with me? He might see me as a threat? I do not know? We've never talked much. I think he's afraid to talk to me? I'm really smart. So is he. But there may be a dichotomy of difference? And he is extremely passionate. I probably represent a Hack, to him? And well? I guess I am? Because I'm a very different, Audio Engineer from him. But no less substantial. But perhaps to him I am? I'm certain of that. Because I operate on a very different level and set of circumstances. He didn't pursue. I did. He has certainly made much more money and more notoriety than I shall ever. And that's okay. He deserves it. He's one of my favorite Engineers. I love everything he does. Except Harpsichord. He doesn't know how to do that. And that's okay. Nobody can be great with everything. I'm Great with Harpsichord. Because I know how they are supposed to be presented. He didn't. I was shocked. I really was. The harpsichordist really hated his recording. And it was easy to hear why. Baroque Harpsichord is not R&B. He made it sound like R&B. We both love, R&B. But that's not Baroque, Harpsichord. LOL. And so he guesstimate his mistakes, too. We all do. I make more. Because I do it all, Live. Where nothing will be perfect. That's just the way it goes. And one has to live with that. Without melting down and freaking out. And I don't think most studio cats could do that. Because they will find nothing is right. Under these conditions. And they usually can't function like that. I can. I know how to. Because I have to. So there are different ways to go about the same thing. Both produce different results. RemyRAD